Fifteen years after Dave Robertson reinvented himself as Reset Robot with six breakthrough tracks on Dubfire’s legendary Sci+Tec imprint, the Portsmouth-based producer has become synonymous with meticulous craftsmanship and innovative sound design. Having commanded releases on powerhouse labels like Drumcode, Cocoon, and Last Night On Earth, Reset Robot has carved out a distinctive niche in electronic music by refusing to chase trends and staying committed to studio experimentation. His latest ‘Meltwater EP’ on Last Night On Earth showcases lush tracks like ‘Dreamland’ with its “celestial harmonies and angelic vocals,” while his ongoing collaborative work with Jon Gurd continues to yield exciting results. We caught up with the self-proclaimed “studio nerd” to discuss his creative process, current projects, and why having fun in the studio remains the secret ingredient to his most compelling work.
1. You “emerged rejuvenated from the studio in 2009” with six tracks licensed to Dubfire’s Sci+Tec. What led to that pivotal moment? Were you producing under different aliases before Reset Robot, and what prompted this creative rebirth?
I was producing under my own name from 2003 to 2009. I had been doing progressive and electro house but my sound started to change and I wanted a fresh start. I’d made a couple of those tracks that got signed to Sci + Tec under Dave Robertson but decided to put them under the new alias. Sci + Tec was one of the hottest labels at the time so it was a huge moment for me as a producer and a big boost for my new alias.
2. From Portsmouth to global dancefloors – how have your UK roots and geographic location influenced your sound? Do you feel there’s something distinctly British about your approach to techno and house?
I would say there must be an influence from being here in Britain. Rave culture in the 1990’s was huge but a lot of the music I was listening to back then was European trance. I was influenced heavily by artists like Ferry Corsten but also British trance producers like Matt Darey.
3. You’re known as a “self-confessed studio nerd and obsessive sound designer.” Can you walk us through your typical production setup and process? What’s your relationship with hardware versus software, and how has your studio evolved over the years?
Yes, my preferred place would be in the studio to behind the decks. When I first started music production at college it was all outboard gear so I had some time working with synthesisers, samplers and sound modules right from the start. I soon moved completely in the box once I got Reason but since then have added more and more hardware to my setup. Now I have a nice balance of both worlds.
4. You’re known for both your meticulous studio work and dynamic live performances. Do you have a preference between producing at home versus touring and playing live? What are the main pros and cons of each side of your career, and how do you balance the two?Well, I don’t do much touring these days to be honest. I pretty much retired that side of my career just before Covid. I did a few Live shows but grew tired of poor stage management and programming and the cons outweighed the pros in the end. I was already doing a lot of producing and co-production so I concentrated my energies there.
5. Your latest ‘Meltwater EP’ on Last Night On Earth showcases a particularly lush, melodic side with tracks like ‘Dreamland’ featuring “celestial harmonies and angelic vocals.” What’s the inspiration behind this EP and how did it come together?
The inspiration just comes from where I’m at musically with regards to what I’m listening to. When I’m not DJing I’m finding the melodic side is coming through more in my productions. I think they’re still aimed at the dancefloor but they definitely have a different sound compared to before.
6. Having released on legendary imprints from Drumcode to Cocoon to Last Night On Earth, are there different creative expectations and audiences of these various labels?
Personally I tend to just write music and not think too much about the direction. Once I have a body of work I can make some decisions about where to send it. I find when I try and force a direction too much it just doesn’t come across as well.
7. Looking back at all your collaborative work, which partnership stands out as the most memorable or creatively significant for you? What made that particular collaboration special, and how did it impact your artistic development?
I’ve worked with many people over the years but my collaborations with Alan Fitzpatrick have always been well received. More recently my music with Jon Gurd has been going really well. We’re releasing a lot of music and having a lot of fun in the studio. It’s great working with different people. I always learn something when going into a collaborative project.
8. As someone deeply embedded in studio technology and sound design, what’s your perspective on AI’s growing role in music production? Do you see it as a tool that could enhance your creative process, or does it pose challenges to the craft-focused approach you’re known for?
Honestly, I’m still not using any AI tools day to day. I had to rip a vocal for someone the other day but that’s as far as it’s gone. I’m still doing it all the usual way. From what i can tell it’s still all quite primitive and gets a lot of stuff wrong. People are trying to use AI for mastering and it’s doing a terrible job most of the time.
9. After over a decade of Reset Robot releases and with your sound now reaching “the world’s more discerning dancefloors,” what advice would you give to producers trying to develop their own distinctive voice in today’s saturated electronic music landscape? What separates lasting artists from fleeting trends?I would say staying true to yourself and trying not to follow trends too much. Be original, experiment in the studio and most importantly have fun. The best music I have made is when it feels the most fun and less like work.
10. What’s next for Reset Robot for the rest of 2025 and beyond? Are there any exciting projects, collaborations, or creative directions you’re particularly looking forward to exploring?
My collaborations with Jon Gurd will continue to drop which I’m really excited about. We’ve made so much music over the past few years so we need to get it all out there! I have a bunch of my own productions in the pipeline as well. Watch this space!